
Class 



Book _ S4S 



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Suggestions 

in 

Hand Work 



By 



Wilhelmina Seegmiller 

Director of Jrt Instruction in the 

Indianapolis Public 

Schools 




Atkinson, Mentzer & Grover 
Chicago Publishers Boston 



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LIBRARY of CONGRESS 




Two Copies fieceivea 




DEC 7 J904 




Copyri^nt £ntry 

OLASS ^ XXc. Not 

COPY B. 




Copyright, 1904, 
By Wilhelmina Seegmiller. 



Suggestions in 

Hand Work 



The Contents 

The Preface 7 

Paper Weaving: 

Chapter I. The Bogus-Paper Weaving Mat . . 11 

Chapter II, Suggestive Designs 15 

Chapter III. Development of the Pattern ... 17 

TiLO IVLvTTINg: 

Chapt.r I. The Material 33 

Chapter II. Samplers and Mats . . . . . . 34 

Chapter III. Objects Simply Made 44 

Chapter IV. Further Uses of Tilo Matting ... 51 

Chapter V. Flov^^er Holders 60 

Chapter VI. Coloring of Tilo Matting .... 66 

Educational Art-Text Sheets : 

Chapter I. Interest in Typography . ... 71 

Chapter II. A Description of the Art-Text Sheets 72 

Chapter III. Practical Suggestions 79 



The Preface 

WHEN God created man in his own image 
''to have dominion" he gave him power 
to create in his turn. 

" Into the dust of the making of man, 
Spirit was breathed when his life began, 
Lifting him up from his low estate, 
With masterful passion the wish to create.*' 

Every child born in the image of the Father 
finds his highest jo}^ in creation. In education we 
have learned that if we would best develop the 
three royal H's, the Head, Heart and Hand, it is 
necessary to provide materials which, with high 
effort and much love, may be fashioned into simple 
objects of beauty. 

Because the materials presented in this little 
book have had charm for a few children " Sugges- 
tions in Hand Work " is sent forth with the hope 
that some of the suggestions may add to the happi- 
ness of other children. 

W, S. 



mberefore, I perceibe t|)at 
t|)ere iis notljine better 
ti^an tljat a man jsljouIH 
rejoice in Ijiis oton loorfeis; 
for t|)at ifs l)i!3 portion* 

Ecclesiastes III., 22 



Suggestions in Hand Work 
Paper Weaving 

Chapter I 

The Bogus-Paper Weaving Mat 

IN the recent growth of Industrial Training in 
elementary schools, there has come a widespread 

interest in weaving, one of the foremost of the 
industrial arts. The use of hand looms and the 
making of baskets in public schools are leading child- 
dren to an appreciation of the arts of weaving in 
rugs, textiles and basketry. The little people of 
five, six, seven and eight years deHght in "making," 
but most available materials are not suited for use 
by the little fingers. 

The " Bogus-Paper Weaving Mat "^ has been 
planned to give the httle folk of kindergarten and 
primary schools a simple, flexible material through 
which they may learn the elementary principles of 
weaving. The papers used are sufficiently heavy 
for children to weave with the fingers without the 
use of a needle. While inexpensive they are beauti- 
ful in color and have a desirable roughness of texture. 

As the mat is planned so that variety of warp and 
weft may be secured, opportunity is given for infinite 
variety of design. Children do their own cutting 
in preparation for weaving and provision is made 
for ruling where teachers desire to have rulers used. 

The Primary Mat is shown in Fig. a. The mat 
sheet is 8 by 15 inches. Cutting on the line 1-2 
children have in the upper part the mat of warp 

''^Patented August 18th, 1903, by TVilhelmina Seegmiller. 
11 



Suggestions in Hand Work 



Fig. A 



Fig. B 



Paper Weaving 13 



Strips surrounded by an inch border. The lower 
part provides the weft strips. 

In preparing the mat for weaving children fold 
and crease the diameter as in Fig. b. They then cut 
on the lines, cutting double the full length of the 
lines, or they cut a short distance on each line suffi- 
cient to allow the insertion of the point of the scissors, 
then opening the mat cut first one way to the end of 
the lines and then the other. The weft strips can be 
obtained by cutting the full length of the printed lines. 

The hnes in both parts of the mat sheet are 
printed one-half inch apart with markings midway 
between the lines. When children have used the 
two inch, one inch and half inch spaces, they will be 
able to rule to secure greater variety of warp and weft. 

The mats are at present made in four colors, 
gray, pink, blue and yellow. It is intended that 
gray be used v/ith each of the other colors. For 
instance, having two mat sheets like Fig. a, one 
gray and one pink, two mats can be made — a gray 
one woven with pink strips, and a pink one w^oven 
with gray strips. One mat will have a gray border 
and the other a pink one. 

When the mat is woven the printed lines should 
be on the under side. The ends of the weft strips 
should be pasted to the under side of the mat border. 

Chapter II 

Suggestive Designs 

SOME suggestive designs are given for the use 
of the teachers. In all of these the Hght tone 
represents warp and the dark weft. Fig. 1 
shows an inch square checker pattern. This will 



14 Suggestions in Hand Work 

probably be the first thing the teacher will wish to 
have worked out that the children may learn the 
''over and under" of weaving. 

As this is a style of w^eaving very commonly used, 
examples of the checker pattern can readily be found 
in basketry, matting and fabrics. As the work in 
weaving progresses it will be well for teachers to 
gather examples of different kinds of weaving, that 
children may see the relation of their work to that 
of the great industrial world. 

In Fig. 2, two inch warp and one inch weft are 
used, producing a design with the repetition of the 
oblong. 

In Fig. 3, with two inch warp and two inch and 
one inch weft in alteration, a design of squares and 
oblongs is secured. If the teacher wishes to have 
finer material used there can be a greater number of 
repeats shown as in Fig. 4. 

Fig. 5. gives another combination of squares 
and oblongs. 

So far the weaving has been of the most simple 
kind, "over one and under one." In Fig. 6, the 
weaving is over three and under one, and in Fig. 7 
over three and under two. The teacher can easily 
work out a simple sequence of lessons in number. 

After a few of the number lessons, when the 
children have become used to counting in the 
weave, it is well to give simple patterns to be 
repeated. In preparation for the weaving of Figures 
8 to 12, inclusive, a lesson in tablet laying might 
precede each weaving lesson, so that children may 
become familiar with the design to be woven. 

In Fig. 8 the box unit is repeated in vertical 
rows. It is a step in advance to arrange the units 
as in Fig. 9. 



Paper Waving 15 



When the little folks have woven the design in 
Fig. 10 they will be interested to make the change 
necessary to produce Fig. 11, then by using the two 
units with w^hich they have become familiar they 
weave Fig. 12. 

The designs following Fig. 12 are not arranged 
in a sequence of growth. Each teacher will wish to 
make her own plans for her class in which she may 
wish to make use of some of the designs. 

Figures 13 to 16 show simple number combina- 
tions. 

Figures 17 to 27 show patterns which can be 
obtained through simple alteration in warp, in weft, 
or in both warp and w^eft. In Fig. 17, with the 
mch-and-a-half warp spacing, three-quarter inch and 
one-quarter inch weft are used in alternation. In 
Fig. 18 there are two wndths of warp alternating 
while one width of w^eft is used. In Figures 19, 20 
and 21 there are tw^o widths of warp and two of 
weft. Fig. 22 shows an alternation of two spacings 
in warp and three in w^eft. Figures 23 to 27 show 
an alternation of large spacings with grouped smaller 
spacings ; these may seem difficult to weave though 
they are very simple. For instance, to obtain Fig. 
26, children cut an inch and then three one-quarter 
inch spacings in preparing the warp. For weft they 
use an inch and then three one-quarter inch strips 
with the simple "over and under one" weaving. 
An infinite variety of patterns can be obtained 
through simple alternation. 

Figures 28 to 45 give diaper patterns of one or 
more units of repeat. 

Figures 46 to 60 show arrangements around a 
center. 



i6 Suggestions in Hand Work 

Chapter III 

Development of the Pattern 

THE best place to begin the weaving of a mat 
is at the upper right hand corner. That child- 
ren ma}^ see pattern as quickly as possible, it 
is well to lead them to place the first complete unit 
of design in the upper right hand corner. 

After children learn the process of weaving, there 
are many waj^s in which the teacher can present 
the work. 

Part of the design should be creative. The 
constructive imagination is the highest power of the 
human soul, a power to which all others are subser- 
vient. A wise teacher will guide the work so that 
children may at times make arrangements of their 
own choice. When the teacher has developed an 
understanding of the meaning of alternation, the 
httle folks can decide upon the width of the strips 
they would hke to use to form a pleasing pattern. 
Each time a new thought is developed children 
will be able to do some simple, creative planning. 

Tablet laying is helpful in connection with weav- 
ing. When children lay the tablets to form a design 
they get the pattern well in mind. 

Much is to be gained in the development of 
number, and directions for weaving, when number 
repeats are simple, may be given by number. 

Children enjoy work from imitation. Designs 
may be quickly and easily placed upon the board by 
^'chalk painting'\ If teachers use the full side of 
the chalk, working for surface, a single stroke will 
make a square or oblong. 



Paper Weaving l^ 



When mats are woven in simple spacing, the 
warp and weft being of the same color, designs may 
be made with brush or with oil crayons, or soft 
pencil. Work of this kind is shown on page 29. 

The regular repetition of units gives a feeling of 
rhythm even when the brush strokes and pencil 
markings are not accurate, so that the free work of 
the little people who have not acquired great power 
in accuracy may be very pleasing. 

Through the weaving children get geometric 
arrangement of spacing for the field of design. 
This gives a basis for design. Beginning with sim- 
ple washings of color, or toning with pencil, in the 
different spaces, children soon develop considerable 
skill in simple designing, arranging units given by 
the teacher, and inventing units of their own. 

The work with brush and pencil in connection 
with the paper mat is of interest to children who 
are older than those who take greatest delight in 
the paper weaving, as well as to the very little folk. 

Children are very happy, occasionally, to use the 
woven mats in the construction of simple objects, 
(see page 30), like the basket or popcorn holder 
and toy lantern to be hung on the Christmas tree, 
when 

"All the bells on earth shall ring 
On Christmas day in the morning." 




i8 



Suggestions in Hand Work 



I I 




Designs njuo'ven ivith the Bogus-Paper IVewving Mat 



Paper Weaving 



19 




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Designs for paper 'w easing 



20 



Suggestions in Hand Work 






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Designs for paper ^wea^ving 



Paper Weaving 





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Suggestions in Hand Work 



















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Paper Weaving 



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24 



Suggestions in Hand Work 



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Paper Weaving 



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28 Suggestions In Hand Work 




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Mats shonjjtng decuraLions made uuith brush and oil crayon 



30 



Suggestions in Hand Work 






A popcorn holder, toy lantern and basket made 
from Bogus-Paper Mats 



^IV eauti?, t|?e enH of art in 



Oscar Lovell Triggs 



Tilo Matting 

Chapter I 

The Material 

TILO Matting is a soft, pliable material, of 
checker weave, made in Japan from shavings 
of the fir tree. 

There is probably no other material available 
for industrial work in public schools that affords 
such wide opportunity for constructive and decora- 
tive design. 

It may be made into mats, boxes, baskets, fans, 
needle books, portfolios, card cases, cushions, table 
covers and many other things. It makes a fine 
covering for benches and stools and facing for 
screens, and may be put to many uses in connec- 
tion with the woodwork in Manual Training Shops. 

As it is a very absorbent material Tilo Matting 
takes color instantaneously so that designs may be 
apphed with the brush. 

Embroidery, lace and drawn work stitches and 
macrame knotting may also be used to produce 
beauty in its decoration. 

It presents problems simple enough for seven 
year old children and difficult enough for high school 
students. 

A year ago a quantity of Tilo Matting was pur- 
chased for experimental work in the Indianapolis 
public schools and placed in the hands of third and 
fourth year children. It proved a very satisfactory 
material with which to work. As its use is to be 
extended a collection of articles has been made to 

33 



34 Suggestions in Hand Work 

show the Indianapolis teachers a number of its 
possibilities. 

These articles have been photographed and are 
shown in this little book with the hope that it may 
be of value to teachers endeavoring to obtain simple, 
beautiful and inexpensive material for joy-work in 
the school room. 

Chapter II 

Samplers and Mats 

VERILY there is nothing new under the sun; 
"that which hath been is now; and that 
which is to be hath already been". 
We find the children of the j^ear nineteen hun- 
dred four interested in samplers; the samplers of the 
grandmothers and great aunts of a by-gone genera- 
tion, with their faint suggestions of 

*' Hawthorn and lavender, marjorem and rue", 

are brought forth from the cedar chests with the 
quaint old hinges and handles. 

On each bit of time mellowed canvas are fashion- 
ed in silken threads designs in straight lines and cross 
stitch with a name and date of a long by-gone year. 

Fancy passes swiftly back over the years, and in 
sympathetic imagining the children see in quaint 
old gowns, the bearers of the olden names working 
their fancies into the canvas, perhaps the only mate- 
rial family possessions linking them to the olden days. 

On a soft matting with threads of raffia the little 
ones of to-day find that 'tis a goodly thing to do, as 
did their grandmothers of yore. 

Sad to say we have no grandfather's samplers, 
but when the undawned years will have made 



TIlo Matting 



35 




Samplers of Tilo Matting njuith patterns made in raffia 



36 Suggestions in Hand Work 

another century and the present-day samplers are 
taken from the chests some httle one may say: 
''This is the sampler my great grandfather made 
in school when he was eight years old". 

The boys are by no means behind the girls in 
the handling of their needles, and often it is a boy 
in the upper class who is the teacher's best assistant 
in helping with the Httle ones just beginning. 

If a teacher will decide upon an oblong of good 
proportion some of the older girls in the higher 
grades of the school will be willing to help by put- 
ting two rows of machine stitching around each 
sampler. This will be sufficient to keep the ma- 
terial from raveling and each child will have his 
sampler ready. If the teacher wish an over stitch- 
ing of raffia may be used to give a finish. 

At first thought the suggestion for machine 
stitching the matting may give a vision of broken 
machine needles, but while it has a certain firmness 
on account of the weave, the material is very soft 
and may be stitched without injury to any machine. 

Another good way to finish a sampler is to glue 
a piece of pith or caning to each of the four edges 
of the sampler and over stitch with raffia. This 
method does away with the necessity for machine 
stitching. 

A stout rattan cane is sent to us in quantities 
from India, Japan and China; it is commonly used 
as ballast for American bound vessels. It is cut in 
New York into caning, pith and rattan; the outer 
surface with a polished or glazed effect is cut into 
strips called caning and is used principally in the 
caning of chairs. When the outer surface has been 
removed two kinds of pith, the flat and oval, are 



Tilo Matting 37 



cut from the cane. These have no poHsh. Finally 
the reeds known as rattan are cut from the central 
portion of the cane. The oval and flat pith are 
very useful in connection with many lines of work 
with Tilo Matting. While any widths may be 
used to advantage the eighth inch and three-six- 
teenth inch widths are perhaps best to have on hand. 

The pith and caning are put up in hanks, can- 
ing running one thousand yards to the hank, and 
pith five hundred yards. A hank of either material 
may be obtained at a very small cost. 

When the edges of the sampler are finished it 
will perhaps be best to lay it aside for use after a 
mat is prepared for decoration. 

Strawboard mat edges, three-eighths of an inch 
wide, prepared with rounded corners for mats six by 
six inches, and six by nine may be purchased at a low 
cost. A mat edge may be glued to the matting or 
a few stitches taken to hold together the matting 
and the edge; then a wrapping, as shown in the 
illustration, obtained by an over-and-cver stitching, 
gives a good finish. If the workmanship is good 
the mat is beautiful without decoration, but if it 
is to be enriched by design there will be use for 
the sampler. The teacher will show the children 
how to make the straight line and cross stitch, 
showing the pattern on the blackboard. 

Children will be able to help make a beautiful 
collection of patterns in matting and woven textile. 
After a little practice they will be able to invent 
patterns for themselves 

Simple work in designing may be done with 
straight line, cross stitch, brush spotting of color, 
or with stained spotting outlined with raflfia. A 










1^:^ 



A mat shonjjing use of straujboard frame on mat edge, a mat 

decorated njuith cross stitch in raffia and a mat 

decorated ujith njjater color 




Around mat ujith raffia decorations, and a square mat 
co'vered ivith surface pattern made of fine caning 



40 Suggestions in Hand Work 

good effect is produced by passing the raffia thread 
over and under the warp threads of the matting. 

As the matting is absorbent, Hke blotting paper, 
color enters into its texture as soon as appHed, so 
that water color can be used satisfactorily for work 
upon thematting. Anyof thedesignsgiven forpaper 
weaving might be effectively used for the matting. 

The round mat of the illustration was machine 
stitched, had an over-and-over raffia stitching, and 
finally a fringe of raffia was added. 

In a number of schools children are furnished 
small looms or frames for caning, and a surface pat- 
tern of fine caning will make a beautiful mat when 
laid over and stitched to the matting. The 
mat shown is made of red caning. The finish 
is first a narrow braid made from weft threads of 
the matting in natural color and red, a blanket 
stitching, a second braiding and finally a strand of 
the matting attached to the braiding by a blanket 
stitching, the stitches being set far apart. 

The square fringed mat was made of a walnut 
brown raffia over the matting. The firm, straight 
lines were made by pasting down strips of pith and 
covering these with ribbons of raffia. There is a 
lace knotting, spider-web corners and a fringe of 
macrame knotting. 

The elliptical mat was made in two pieces, the 
edges wrapped over narrow pieces of cardboard cut 
the proper shape. A weaving design decorates the 
spacing between the two pieces of the mat. The 
color scheme of this mat is dull red and apple green. 

Lace patterns of raffia make charming edgings, 
insertings, or may be used with effect over the 
mattings. The equipment necessary for the lace 



Tilo Matting 



41 




Mats shoiving decorations in raffia knotting and ijuea'ving 



42 



Suggestions in Hand Work 




A simple equipment for making raffia lace and a mat -juith 
a raffia lace border 



Tilo Matting 



43 




Lace pattern suggesting design for raffia lace and mat ivith 
raffia lace decoration 



44 Suggestions in Hand Work 

making is very simple — a cushion, a piece of paste- 
board and a few pins. The illustration shows the 
manner of passing the raffia over the pins. Bat- 
tenburg and weaving stitches produce an infinite 
variety of designs. 

The wheels in the border of the round mat 
were made with the pins set in a circle. 

The four old rose squares placed together to 
form the center of the square mat were made over 
pins set in square form. 

Bits of the coarse laces so easily obtained will 
furnish abundant pattern. After a little experience 
with the material pupils will be able to do their 
own designing. 

This chapter shows a variety of mats presenting 
problems suited to children of different ages. They 
are but a few examples which will suggest to 
teacher and pupils a wide field for creative activity. 

Chapter III 

Objects Simply Made 

A great variety of objects may be made from 
Tilo Matting. As suggestions a few are 
pictured. 
The napkm ring has an edging of pith with 
raffia stitching. 

The card case is so simple that no directions 
are needed for its making. 

The needle book has a binding of a strand of 
the Tilo Matting and its decoration is worked in 
cross stitch with raffia to match the binding. 

The hexagonal basket is made in seven pieces 






Napkin rings, card cases, needle books, hexegonal baskets , 
boxes, and satchels maybe easily made from Tilo Matting 



46 



Suggestions in Hand Work 







-.TitrrfflSftfffi 




.U^.A^LkM:^^.k^.,AA±A^M.i^^, i^...^ if f^|4 f^f^j'g 



A handkerchief case, cuff box, square box and glo'ue box 
made from Tilo Matting 



Tilo Matting 



47 




Fans made of Tilo Matting and a perfume flask 
couered uuith the matting 



48 Suggestions in Hand Work 

over skeleton frames of straw board, and the parts 
sewn together. The box with lapping cover has 
the oval pith for an edging. 

A beautiful satchel may be made from the mat- 
ting. The one in the illustration is made in five 
pieces. One piece was used for the body of the 
satchel; there are two pieces over-lapping at either 
end, arranged to make the satchel contract or ex- 
pand, as desired. There are three rings buttonholed 
with raffia, arranged that the fastening may be ad- 
justable. 

The handkerchief case, cuff box, square box 
and glove box are very simple in their construction. 
When over the edgings the raffia threads meet, as 
in the handkerchief case and cuff box, any kind of 
pasteboard or pith mav be used for securing firm- 
ness. When the stitches are set apart, as for the 
square box and glove box, natural or colored pith 
can be used. The florists have colored ribbons, 
called silk ribbons on account of their finish, rib- 
bons apparently of wood fiber, which if laid over 
the pith give a very dainty finish for boxes Hke 
these. 

The fan offers excellent opportunity for con- 
structive as well as decorative design. A lesson in 
paper cutting of the shapes of fan and handle will 
be very profitable. For the eight sided fan a piece 
of cardboard was cut in one piece, the desired 
shape, from a box lid. There is an over stitching 
of raffia, a design in two colors of raffia, a handle 
made of soft wood and left in natural color to 
match the matting and binding, and a cord of 
raffia in natural color, with the colors used in the 
decoration. 



Tilo Matting 49 



For the oval fan a paper pattern was cut. An 
outline traced about this was made on the matting 
to guide a machine stitching which kept the mat- 
ting from raveling. A rattan reed was used for 
stitching about the edge. After this was bound 
with raffia the lace edge was crocheted with raffia 
and a simple cross stitch design added. The handle 
was made from wood and wrapped with raffia. To 
assist in wrapping the raffia neatly about the end 
of the handle a small hole was bored in the wood 
through which the first few stitches of binding 
were drawn. 

As it requires very skillful work to make a design 
worked in raffia look well on both sides of the fan, 
if the design is anything but of the simplest, it is 
best to use staining in the decoration. 

For the covering of the little perfume flask two 
pieces of matting were sewn together over the 
body of the flask. The weft threads at the ends 
of the two pieces about the neck were drawn out 
and raffia woven under and over the warp threads 
of the matting to make the closely woven piece 
about the neck. A raffia cording was used for a 
handle. A circular top made of button-holing 
covers the cork, and this is fastened down with a 
thread of raffia. 

There are many bottles very beautiful in form 
and color and it is an interesting occupation to 
cover or partially cover them with matting and 
raffia decoration. 

The mat and basket of stitched braiding were 
made from ravelings of remnants of Tilo Matting. 
Weft strands of the matting and a braiding of three 
strands are shown, also a ribbon obtained by 













.^f- 

::^# 




y^ mat and basket made from braided strands of 
Tilo Matting 



Tilo Matting 51 



dampening and unrolling a strand. The scraps of 
matting should be saved, as the unraveled strands 
can be put to many uses. 

There are many possibilities in the sewing of 
braiding, which is simple enough for even the little 
people. 

As the strands of matting are a yard in length 
and of a uniform thickness the work of braiding is 
simple. 

The braiding of raffia has presented two dif- 
ficulties for the little folk — to make a thick braid a 
number of raffia threads must be used, and it is 
difficult for little children to keep the braiding 
even ; then, as much time is needed for selecting 
and braiding, the children find it irksome to do 
enough braiding to sew into a mat or basket. 
These difficulties are obviated with the braiding of 
the Tilo Matting strands. 

Chapter IV 

Further Uses of Tilo Matting 

IN the making of the round tray, a piece of the 
matting was dampened and stretched between 

the tw^o wooden wheels of an embroidery frame. 
The design is a cross stitch in orange. A narrow 
black raffia thread was used to outline the design, 
though, as the orange has photographed dark, the 
outlining fails to show. A black outhning can 
often be very effectively used. 

The matting for this tray was stained with cof- 
fee and the wood stained a corresponding brown. 
A four-ply braid of raffia is used for a finish. This 



52 



Suggestions in Hand Work 






A tray, an elliptical basket and a square basket 
made from Tilo Matting 



Tilo Matting 



53 







i I 



sM^ 



Tirt-nr-Wiifr^^^^^^^'^'"^ 



A music re II and a portfolio made from Tilo Matting 



54 



Suggestions in Hand Work 




A cushion and table co^er made from T'llo Matting 



Tilo Matting 



55 




Cross stitch designs suited for raffia decoration 
on Tilo Matting 



56 



Suggestions in Hand Work 




Cross stitch designs suited for raffia decoration 
on Tilo Matting 



Tilo Matting 



57 







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Cross stitch designs suited for raffia decoration 
on Tilo Matting 




Patterns in matting suggesting designs for Tilo Matting 




Patterns in matting suggesting designs for Tilo Matting 



6o Suggestions in Hand Work 

is stitched on to the matting between the wooden 
circles. 

The elHptical basket and square basket explain 
themselves. The regular irregularity of the upper 
edge of the elliptical basket was obtained by the 
use of a reed under the raffia. The pictures show 
all that it is necessary to know in making a music 
roll, portfoHo, cushion and table cover. 

As cross stitch will perhaps be used more than 
any other method of decoration on the Tilo Mat- 
ting, three pages of suggestions in cross stitch 
design are given. 

Pupils gain much in adapting to their uses pat- 
terns placed before them, in planning for spacing 
and producing good color effect. However, their 
chief joy in design is when they create themselves. 
On squared paper with brush or colored pencils they 
can block out their ideas, and they will enjoy much 
applying the designs of their own fashioning. 

Chapter V 

Flower Holders 

WHAT a fascination there is in covered bot- 
tles, jugs and jars! Flowers seem to 
specially belong in a covered ginger jar. 
The Japanese have taught us how delightful it is 
to cover a beautifully shaped bowl or vase of some 
charming color with an open work design in reed, 
pith or raffia. 

With the use of Tilo Matting and raffia we 
can make some charming flower receptacles. 

Every child can secure a can. A baking powder 








Floujer holders made from Tilo Matting 




A flonjjer holder made from Tilo Matting. 



Tilo Matting 63 



can is soon transformed into a simple but beautiful 
flower holder. 

For the one in the illustration an oblong was cut 
to fit over the curved face of the can and the edges 
stitched together. A circle was cut for the base 
and sewed on. Where the two edges of the oblong 
met a pale green ribbon of raffia was used to cover 
the joining. This was held in place by a stitching 
of natural raflSa, forming a simple design. The 
same kind of decoration was carried out at regular 
intervals about the tin. The top is finished with a 
blanket stitching. 

The large, cylindrical brown jars, used so 
largely by the florists, are made more beautiful by 
a covering. These jars are fine to hold such things 
as hollyhocks, sunflowers, wild asters and golden 
rod, and are especially charming for the weeds. . 

Tall stalks of the curly dock, with its wonder- 
ful rythms of russets, greens and browns to echo 
the brown in the jar, are certainly a joy. 

The dictionary tells us that a weed is " any un- 
sightly, useless or injurious plant." To the artist's 
eye no thing that grows is unsightly, and the poet 
tells us : 

" To win the secret of a weed's plain heart, 
Reveals some clew to spiritual things." 

A basket large enough to hold a flower pot is 
very useful. Such a one is shown in the illustra- 
tion. 

For the fern dish in which the asparagus fern is 
growing two tins were secured, one to fit inside 
the other. If 3^ou prefer a cylindrical or conical 
fern dish buy your tins accordingly. 

Cover the outside and upright part of the inside 





Floiver holders made from Tilo Matting 




A flower holder made from Tilo Matting 



66 Suggestions in Hand Work 

with matting of a color to harmonize with the 
plant growth. Stitch together and add what deco- 
ration you wish. Then set the small pan in its place. 

One of the most delightful receptacles for 
flowers is the basket swinging from a bamboo 
stick. The baskets in the illustration holding the 
lace flower are made in dull Pompeiian red. An 
arrangement of this kind is a joy the year round. 
It may swing in a corner or over a window bracket. 
In the winter pots of ferns or of twining nastur- 
tiums will give pleasure. In the spring the first 
blood roots that are dug up to bloom in the house 
or the early hepaticas are graceful in their swinging 
baskets. Later the flower pots are taken out and 
dishes to hold water set in. Then come the 
sprays of thorn, the dogwood, and one by one the 
procession of the flowers until finally the Christmas 
holly beautifies the corner of the swinging baskets 
for the Christmas-tide 

Some of the bake dishes in yellow or blue and 
colored glass finger bowls may be effectively deco- 
rated with the matting and rafBa lace insertings. 

Toy buckets, such as children use at the sea- 
shore, and many other receptacles, if well covered 
and tastefully decorated, then filled with the blos- 
soms, will make spots of beauty to be a "joy forever. ' * 

Chapter VI 

Coloring of Tilo Matting 

WATER color may be used for tinting back- 
grounds or painting pattern on the mat- 
ting. As the material is absorbent the 
water color sinks into the fibre. The water color 



TIlo Matting 67 



is good for use in coloring small articles but is not 
economical for use on large surfaces. 

One of the most satisfactory methods of color- 
ing the Tilo Matting is with " Easy Dyes." These 
dyes come in beautiful tones; they retail at 15 cents 
a tube and a tube will dye a large amount of matting. 

These dyes certainly deserve the name Easy" 
as they can be so readily handled. They are dis- 
solved in cold water and the matting, or the strands 
of matting to be dyed can be dipped in and take 
the color instantly. As extra water is added the 
tone becomes lighter so that the material may be 
dyed in a rhythm of tones of color without the least 
trouble. The raffia will take the color also, but 
needs to be left soaking for some time. 

The Easy Dyes do not stain the vessels in 
which they are used, nor one's hands, so that in 
every way they are very satisfactory for use in 
the school room. 

Other stains which can be used in cold water 
are the Simplex Inks. These have limited range 
but as many teachers use Simplex printers and have 
red, violet or green inks at hand, they can use two 
or three drops of the ink in a quantity of water. 
As the inks are very strong a drop or two will dye 
enough material for a class. 

The Diamond Dyes, the wood stains, the candy 
dyes, in fact any of the dyes on the market can be 
easily used with the matting. 

There is much satisfaction in producing beauti- 
ful vegetable dyes of one's own. It is great fun 
not to know very much about the matter, but with 
a few hazy ideas begin to experiment and taste the 
joys of discovery. 



68 Suggestions in Hand Work 

A class of young ladies in a normal school was 
asked to go to the gardens, the highways and by- 
ways, and bring in and boil anything that seemed 
promising in the way of yielding coloring matter. 

They were given some suggestion of the changes 
often produced in coloring matter by the use of 
simple things such as salt, alum, or baking soda, 
and were told something of mordants. At the end 
of a week they made a very beautiful exhibit of 
coloring. 

Husks of the walnut and butternut, cofifee, tea 
and onion produced brown; grape skins and purple 
cabbage were the principal factors in the violet; poke- 
berries gave red violet; cranberries a glorious red, 
or an old rose, according to the ripeness of the 
berries, while nasturtium leaves and tomato leaves 
gave wonderfully beautiful greens. 

The aunts and grandmothers began to disclose 
the secrets of dying used when they spun and color- 
ed yarns in their girlhood. With the young ladies, 
interest in the roots, barks and berries grew un- 
til no Indians seeking for color with which to weave 
sj^mbols into their beautiful baskets could have 
taken more joy in the search for Nature's coloring. 

Children can very readily, with water color or 
Easy Dye, color small articles such as needlebooks 
or napkin rings, applying the color with a brush. 

They will in most cases wish to spread the 
color evenly over the surface. 

Very beautiful color effect is obtained by spread- 
ing one color evenly over the surface and a second 
color slightly unevenly. For instance, if a piece of 
Tilo Matting is colored rose and then gray is spread 
over the rose, the rose being allowed to show 



Tilo Matting 



69 



slightly, the result is very pleasing. The gray 
should not be spotted, but applied in such a way 
that the rose will shimmer through, giving to the 
matting something of the effect in rose and gray 
that would please us in a changeable silk of rose 
and gray. 

A slightly changeable effect in the raffia is often 
desirable. If raffia is rolled an hour or more in a 
dampened newspaper and then dipped in the dye 
fluid made from Easy Dye and removed in a minute 
or two, a beautiful changeable effect is obtained, 
a combination of the color of the raffia and the 
color used. 



a: 



nH bleist be Habor tDl)ic|) 
can Uecfe itjs luarejs toitf) 
grace anti beautp* 

Rev. Phoebe j4. Hanaford 



Educational Art-Text Sheets 

Chapter I 

Interest in Typography 

CHILDREN are surrounded by two-world 
environments, the world of nature and the 
world of man — the world of his arts. Edu- 
cators are endeavoring to bring them in the best 
way into relationship with these, on the one hand 
leading them to a close companionship with nature 
and on the other taking them into the work-shops, 
givmg them opportunity for industrial occupations 
and bringing them into touch with the great 
activities of life in this, the age of the greatest 
creative industrial activity in the world's history. 

Through the recent developments in public 
school craft-work children are appreciating as 
never before the dignity of labor and the joy of a 
good workman in work well done. They are 
learning how^ raw materials (such as wood, iron 
and clay) may be used for man's comfort and de- 
light, and how these carry great industrial values — 
values representing a small amount in raw material 
and a very large value added by the skill and 
thought of trained workmanship. 

One of the arts that children dehght to study 
is the art of printing. It is a great treat for a class 
of pupils to make a visit to a printing estabhshment 
where the daily paper is being printed, or where 
some book, magazine, or advertisement is being 
prepared. The type setters, the machines doing 
their appointed work with wonderful precision and 
effect, and the arrangements for folding and count- 
ing are sources of great wonder. 

71 



72 Suggestions in Hand Work 

The visit to the printer arouses a new and de- 
Hghtful interest in the art of printing and lettering. 
There naturally follows the backward look to the 
beginning, the writing on tablets of stone, the papy- 
rus roll and the monks with their labor of love de- 
voting their lives to the illumining of parchment are 
considered in a new light. The library books are 
eagerly searched for the illumined pages showing 
the old time work. Then there is a study of the 
discovery of printing, and the gradual changes and 
improvements with the recently made machinery as 
wonderful in operation as any fairy godmother or 
Alladin's lamp. 

This, then, is a step to the study of books. If 
the season is early winter the new Christmas books 
and magazines are at hand. It is discovered that 
the types vary, so there comes a desire to know 
several of the most beautiful standard types, perhaps 
the Post Old Style, Priory Text, Old Style 
Antique and others. 

Some books have initial letters and decorative 
borders enriching the pages. The choicest have 
hand illumining embellishing the printed outlines. 
A book plate is a mark of rightful pride in ownership. 

By this time, if not before, the creative activity 
is thoroughly awakened and there comes the 
desire to ''do something". 

Chapter II 

A Description of the Art Text Sheets 

SHEETS known as Educational Art-Text 
Sheets* have beautiful quotations set in beau- 
tiful type and surrounded by printed outline 
designs intended for hand illumining. These are 

Patented February, 10, 1903, by ff^ilhelmina Seegmiller. 



Educational Art-Text Sheets 



73 






'■ni li e*.-»kl,^^* 



Cr*^ 






Four Educational Art-Text Sheets: (l) My Symphony; (2) 
Be Strong; [3) To-Day; and (4) A Prayer. 



74 



Suggestions in Hand Work 



i' ■.' p/g^. ■ . 8ao« 10 c»tte»-yntfi«, ^ ;|j,^j 

fw» Msjjt jow cjc an* tfcii fbMrt^ 
^ I5i 3«.r f«.c?. TrtU, Bj .. [gj NJ 








Tivo Educational Art-Text Sheets ^ one intended for a book 
mark and the other for a calendar 



ABCDEFGHIJKLMNOPQRSTUVWXYZ 
abcdefg'hijKlmnopqrstuvwxyz 

aftcliefgl)iifelmnopqr0tuVJtorp> 

ABCDEFGHIJKLMNOPQRSTUVWXYZ 
'abcdefghijklmnopqrstuvwxyz 



Alphabet Sheet y shelving three standard types, Post Old Style, 
Priory Text and Old Style Antique 



Educational Art-Text Sheets 75 

suited for use by pupils from fourth to eighth grades 
and in high schools. 

There are three kinds of text sheets at present 
published. Large text sheets, 10 by 12 inches, are 
intended to be mounted or placed under glass with 
passepartout binding. There are four of these: 
" My Symphony", by William Henry Channing,with 
decoration from Begonia Motif; "A Prayer", by 
Robert Louis Stevenson with decoration of Clover 
Motif; "To-Day", by Samuel Ellsworth Kiser,with 
Linden Motif in decoration, and ''Be Strong", by 
Maltby Davenport Babcock with conventional line 
treatment in the design. 

The four large text sheets are printed on tinted 
papers. 

There are two Bookmark Art -Text Sheets, 
the smaller of the two, 2 by 1% inches, has a 
quotation on books by Carlyle and a decoration 
from the Sweet Pea Motif. The larger, 3>^ by 7/^ 
inches has a quotation on books by Dorothy 
Wordsworth and a decoration from the Ground 
Cherry Motif. The bookmarks are printed on 
heavv cream toned water color paper. 

The calendarsheet contains a quotation, ''Take 
Joy Home", by Jean Ingelow, a printed calendar 
and a decoration from the Night Shade Motif. The 
calendar is printed on a heavy drawing paper, 
which takes water color nicely. 

Pupils dehght to illumine the Art-Text Sheets. 
In using them they are enabled to see specimens of 
good typography and design, and they gain much in 
an endeavor to produce good color schemes. One 
scheme suggests another. There is a fascination 
about trying a second and a third and then "one 
more." 



76 



Suggestions in Hand Work 




!/^f tbetbingel 

^tbattnaus 

can do or make 

nhcvt b«low, byn 

kfar tbe woetp] 

Siinoiiientou9,\S 

i»ponderful and 

wortby are tU 

tHnge tpe eaU 

books. 




I ^SiHfU ^ 




gUn belsnr. byg 

fetar tfc« tncwt'J 

t«vrtf»7 an tb* 
, tfetngFC w« call 




J Carlyle bookmark before and after it has been 
illuminated. 



Educational Art-Text Sheets 



77 




An illumined calendar 



LofC. 



78 Suggestions in Hand Work 

When alphabet sheets containing styles of 
standard type in capitals and small letters are pro- 
vided for use, pupils enjoy hand lettering texts, and 
designing an initial letter. As composition, care 
in lettering and color harmony are to be considered, 
the texts chosen should be short. 

Text Sheets printed without decoration give an 
opportunity for original work in design around the 
text. These may be purchased at small cost. 

If pupils wish to decorate several sheets with 
the same design, they see the practical use of a 
stencil and enjoy making one. 

Mrs. Lucy Fitch Perkins is preparing a number 
of sets of figure sketches in outline showing the 
Hfe of different nations and periods of history. 
These are to be known as the Perkins Outline Pic- 
tures. The first, a set showing life of Colonial 
days, has just been published. It will be of special 
interest at the Thanksgiving season. 

Mrs. Perkins is, through the figure skethes, giv- 
ing pupils opportunity to use color in figure com- 
positions. 

In painting the Perkins Outline Pictures and 
Art-Text Sheets pupils may in several ways be as- 
sisted in securing color harmony. 

A finder may be laid over Japanese prints or bits 
of beautiful textiles, the colors within the finder 
being used for the costumes in the figure sketches 
or the spacings in the Art-Text Sheet decorations. 

The fine color illustrations of the magazines, 
notably those by Maxfield Parrish, Howard Pyle, 
Jessie Wilcox Smith and Elizabeth Shippen Green 
mav be studied for color relations. 



Educational Art-Text Sheets 79 

A book like Joan of Arc by M. Boutet de Mon- 
vel is a treasure for color study. 

The Text Books of Art Education recently 
published by the Prang Educational Company give 
suggestions for the use of Nature's color schemes 
and also present color charts and an explanation of 
their use in producing harmony in color composition. 

Chapter III 

Practical Suggestions 

GOLD can be used with water color with 
good effect for text illumining. For wall 
texts it is necessary to use water only in 
applying the gold. In using gold for bookmarks it 
is well to add a small amount of gum arabic in the 
water to prevent gold from rubbing off. 

Rich effects may be obtained by mixing gold 
with color for parts of a design. 

When placing texts under glass with passe par- 
tout binding it is well to have the glass cut the size of 
the text sheet and the pasteboard backing cut a 
very little smaller so that when the passepartout 
binding is used there will be a slight bevel backw^ard, 
insuring a smooth effect on the glass. 

The bookmarks may be used w^ith or without 
ribbons. If ribbons are used it is well to select them 
first and make the color schemes of the illumination 
harmonize with the tones chosen. The book- 
mark texts when matted and put under glass make 
suitable texts to be hung in the library. 

If the Text Sheets are painted before the Christ- 
mas season, pupils have the pleasure of using them 
as Christmas gifts. 



8o Suggestions in Hand Work 



^4 




Illumined Art-Text Sheets 



M 



but opportunity for nobler 
tDorfe anti (jlimpjseis of iU 
limitable fteltija* 



Industrial Material 

For Kindergarten and Primary Grades 

A Price List of Material 
The Bogus-Paper Weaving Mai, pink, yellow, blue 

2ind gv2iy, ^\zQ ^xS, per hundred |1.00 

Tilo Matting, /)^rj<3r^ 1.00 

Frames for Tilo Mats, sizes, 5/2x8/4, 6x6, 6x9, per 

hundred . ' . 50 

Educational Art-Text Sheets, per hundred . . . 4.00 

Large Art-Text Sheets, size, 10x12. — 

1. My Symphony, Channing, Begonia Motif. 

2. A Prayer, Stevenson. Clover Motif. 

3. To-day, Keiser. Linden Motif. 

4. Be Strong, Babcock. Conventional Line 
Treatment. 

Small Art-Text Sheets. 'Bookmarks. 

1. Carlyle Bookmark, size 2x7^/. Sw^eet Pea Motif . 

2. Dorothy Woodworth Bookmark, size 3%x7/^. 
Ground Cherry Motif. 

Plain Text Sheets (without borders), size 8x10^2, 
per hundred 2.00 

1. Just Being Happy. 

2. Pleasant Thoughts, Ruskin. 

3. Waiting, Bishop Potter. 
Calendar — 

Take Joy Home, Ingelow, size 5x13, per hundred 5.00 
Perkins' Outline Pictures — 

Colonial Series (6 pictures), size 8xl0/^,/^r set 

of six 25 

Alphabet Sheets, per hundred 4.00 

A Price Lists of Models 
The Bogus-Paper Weaving Mat, /)^r (i^j-i§-« ... .10 

Tilo Mats, per design 25 

Art-Text Sheets, large size, per color scheme . . 1.00 
Art-Text Sheets, small size y per color scheme . . .50 
Calendar — 

Take Joy Home, per color scheme 1.00 

Plain Text Sheets, per color scheme 50 

Perkins' Outline Pictures, per color scheme . . . 1.00 

Atkinson, Mentzer & Grover 

Chicago Publishers Boston 



LBAp'CS 



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